Alex is presently working on his PhD in musicology at NYU as well as writing a book about the composer Robert Ashley with the designer and writer Will Holder. Alex participated in Dexter Sinister's residency at the Armory for the 2008 Whitney Biennial writing a new work based upon Herman Melville's Bartleby the Scrivener. Alex Waterman and Beatrice Gibson's collectively written and scored film, A Necessary Music, narrated by Robert Ashley and with original music by Waterman, premiered at the Whitney Museum ISP show and won the Tiger Prize for Best Short Film at the Rotterdam Film Festival in 2008. Alex lectured and performed as part of the exhibition The Possibility of Action at the Museum of Contemporary Art in Barcelona in 2008, and was in residence at the ICA in May 2009 with his ensemble, in addition to performing solo works. He installed a permanent 12 speaker sound installation out in Napa Valley in July of 2009 at the residence of Norah and Norman Stone, and is presently working on the sound track for a new film project by Cameron Gainer in Vieques, and launching his record label (D.S. al coda). His writings have been published by Dot Dot Dot, Paregon, FoArm, Bomb, and Artforum.
Press and Reviews
"(Richard)Carrick’s relative gentleness was all but blown out of the room by Alex Waterman’s ferocious reading of Kottos, in which Iannis Xenakis asks the cellist to pressure the instrument into a sputtering explosion of harmonics and noise. The unearthly beauty produced seems borne of a planet in constant, seething turmoil, where snarling, lunging glissandi are the sounds of the day. I can’t imagine a cellist applying more dedication than what Waterman unleashed, like Bartók on steroids."
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More Kind Words:
Excerpt from Bruce Hodges' review in Seen and Heard International
(A review of the concert pictured at The Kitchen, 2007.)
With the skill and dedication of three archaeologists, Either/Or founders Richard Carrick and David Shively, with the help of cellist Alex Waterman, presented an unusually interesting look at some artifacts from the avant garde of the 1950s and 1960s (with one vault into the 1970s). Held in The Kitchen’s high-ceilinged upstairs gallery, the concert had a “turning back the clock” effect, enhanced by some pillow seating on the floor. On the walls, an exhibit co-curated by Waterman called Between Thought and Sound: Graphic Notation in Contemporary Music showed the sometimes-startling variety of composers’ visual notation, from a tightly-ordered pattern of tiny blocks, to a huge sheet of brown paper daubed with wisps of paint...
Waterman made an intelligent case for one of Morton Feldman’s shorter works, Projection 1, with typical delicate tones competing for attention with pauses. With acute attention to phrasing and dynamics, Waterman breathed uncanny life into a work that seemed over too soon.